ArtvestigeArtvestige
PaintingsArtistsEras
Artvestige

Artvestige

The most comprehensive free reference for European painting. 50,000+ works across ten eras, every one with expert analysis.

Explore

PaintingsArtistsErasData Sources & CreditsContactPrivacy Policy

About

Artvestige is an independent reference and is not affiliated with any museum. All images courtesy of Wikimedia Commons.

© 2026 Artvestige. All painting images are public domain / open access.

Saint Pierre après sa délivrance de prison vient retrouver les fidèles chez Marie by William-Adolphe Bouguereau

Saint Pierre après sa délivrance de prison vient retrouver les fidèles chez Marie

William-Adolphe Bouguereau·1848

Historical Context

Saint Pierre après sa délivrance de prison vient retrouver les fidèles chez Marie (Saint Peter after his Deliverance from Prison Returns to the Faithful at Mary's House), dated 1848, is one of Bouguereau's very earliest known works, painted when he was twenty-three and still a student at the École des Beaux-Arts in Bordeaux before winning entry to the Paris school. The subject is drawn from the Acts of the Apostles (Chapter 12), depicting Peter's miraculous liberation from Herod's prison by an angel and his return to the community of believers gathered at the house of Mary, mother of John Mark. Religious history painting was the highest genre in the academic hierarchy, and ambitious young painters regularly attempted such subjects to demonstrate their mastery of figure grouping, narrative clarity, and elevated expression. This 1848 work shows Bouguereau engaging with the grandest category of painting at the very beginning of his career, before the commercial pressures that would later shift his output toward genre and mythology.

Technical Analysis

A religious history painting of this type required convincing management of multiple figures in a dramatically lit interior, each expressing an appropriate range of emotion — wonder, relief, devotion, disbelief. The young Bouguereau must balance the demands of narrative clarity against the formal requirements of a well-composed academic figure group.

Look Closer

  • ◆The varied emotional responses of the witnesses to Peter's return demonstrate early ambitions in expressive figure painting
  • ◆Interior lamplight or torch illumination, if used, creates dramatic chiaroscuro very different from Bouguereau's later work
  • ◆The composition's figure grouping anticipates the crowded narrative scenes he would later handle with complete assurance
  • ◆Peter's posture and expression must carry the scene's theological weight — liberation, gratitude, and apostolic authority

Quick Facts

Medium
Oil on canvas
Era
Romanticism
Genre
Religious

More by William-Adolphe Bouguereau

Zenobia found by Shepherds on the banks of the Araxes by William-Adolphe Bouguereau

Zenobia found by Shepherds on the banks of the Araxes

William-Adolphe Bouguereau·1850

Dante and Virgil in Hell by William-Adolphe Bouguereau

Dante and Virgil in Hell

William-Adolphe Bouguereau·1850

Equality Before Death by William-Adolphe Bouguereau

Equality Before Death

William-Adolphe Bouguereau·1848

Most Reverend Léon-Benoît-Charles Thomas by William-Adolphe Bouguereau

Most Reverend Léon-Benoît-Charles Thomas

William-Adolphe Bouguereau·1877

More from the Romanticism Period

The Fountain at Grottaferrata by Adrian Ludwig (Ludwig) Richter

The Fountain at Grottaferrata

Adrian Ludwig (Ludwig) Richter·1832

Dante's Bark by Eugène Delacroix

Dante's Bark

Eugène Delacroix·c. 1840–60

Shipwreck by Jean-Baptiste Isabey

Shipwreck

Jean-Baptiste Isabey·19th century

Portrait of Emmanuel Rio by Albert Schindler

Portrait of Emmanuel Rio

Albert Schindler·1836